Fall To Earth - Yves Saint Laurent Rive Gauche A/W 2008 (A Look Back)

   On rare occasion, people e-mail me regarding the designer reviews I occasionally do and some of them like to ask why I do them at all, citing reasons such as a disconnect from my or their aesthetics, quibbles with the designs, a minor grievance with the styling, skinny models. You know, serious stuff

   I know where they're coming from, but it must be said that classicism should not involve an ignorance of fashion. Everything changes - even menswear - and it's a passion of mine to look for the good amongst all the mutables. Your father's 1980s suiting is not your own 2009 look because fashion and common sense reasoned that oversized shoulders and chests were nothing short of unbecoming and lacking in refinement and sleekness (though I readily note that most of my suits are from the 1980s and buck many of the cliches of the time with nary a care). Over this year, I've noted that older gentlemen, some of whom read this column, are appreciative of my ensembles, but frankly, those outfits would be worthy of no one's attention if I wasn't able to take inspiration from more than the history books or my father's wardrobe

   Still, if there's one thing I'm unashamedly fond of, it's exhuming a particular past and bringing it back to life. So it is with Stefano Pilati's YSL Rive Gauche collection of la dernier automne et hiver, which ran with menswear designs that were seeded in the same decades that the House first came to prominence under its not forgotten founder; the 1960s and 1970s. Retro-modern is an awful, hackneyed label, but it's an easy shorthand that does partially describe these garments and the ethos behind them. Thankfully, I swallowed a dictionary once, so I'm certain more erudite vocabulary shall be forthcoming, perhaps somewhere in the final paragraph. And even if the clothes are now a year in the past, 'tis the season for old inspirations

   Totally swank and utterly energetic, the collection and presentation succeeded in evoking a time that, if not necessarily better dressed, was certainly more sartorially attuned to days and nights of luxe, glamour, fantasy and awe. Capably memorialising an era in which men dressed to get away from it all; to feel like stars, Pilati's creations seemed attuned to a particularly louche but elegant and creative spirit. This feeling was instantly encapsulated by the Thin White Duke stylings of fitted jackets with sweeping lapels and the floor sweeping lengths of Oxford Bags that comprised the suiting and immediately let onlookers discern where Pilati's heart was at

   One of the core values of 1960s and 70s tailoring was about accentuating of the male form, expressing this ideal through grand and form fitting cutting. Pilati modified this vision for the days of now through a classically autumnal colour palette, a lack of flaring (in reality, the wide dress trousers are cut more or less straight), an emphasis on fine, if not ultra-luxurious materials and a pinch of the psychedelia and pure glam that characterise his source material. The coupling of this restraint with a more generalised reference to two distinctive decades distinguishes the collection from the similar regenerative nostalgia produced by Tom Ford, whose boldness of colour and slim cut trousers only somewhat apply here

   It's actually the use of colours that proves to be one of this collection's secret strengths. Much of the outerwear took on this aspect, being proffered in apple green, pale salmon, peach, electric blue and yellow, and all of it to a particularly natural effect. Rather than a garment that used colour to shock, what actually resulted were pieces that were very well constructed and realised and which so happened to be made in colours less rarely seen on most men's outer garments. As an extra mark of characterisation, the selection of fabrics for pieces such as motorcycle jackets tended towards the unexpected such as wool felt. The most unanticipated item of all was the hybrid of an overcoat, a cardigan and the classic opera cloak that made me curious as to how many besides myself would covet it.

   The earlier citing of Tom Ford as a comparison point is key beyond the obvious connections to the House of YSL, the fondness for the 1970s and both lines having their production handled by Zegna. Superficially, one could present arguments as to why the two collections could not co-exist during the same season, but there are clear differences in vision as well as nuances. Ford's styling is quintessentially Nutter's of Savile Row, with particular attention to the shoulder and chest in a manner that is almost brash. These tics, combined with nipped waists and fuller sleeves tend to make for a more British affair that is then infused with colours and fabrics that are halfway between patrician heritage and old Hollywood. Pilati's, by contrast, is softer, a touch more relaxed and beguilingly playful. Physical examination of the jackets also revealed that they were rather lightly structured and softly tailored, in a manner that befits an Italian designer and the legacy of continental tailoring. It's no small gift to make such heavier and warmer wools handle and wear almost as lightly as summer cloths - such attention goes a long way in promoting desirable clothing

   Pilati's flights of fancy are at their best when they take direction from his own "Last of the International Playboys" dandified aesthetic; seemingly, he's one of the last men on earth who upholds a somewhat Romantic ideal in his manner of dress and deportment. Favouring cropped trousers, silk scarves, loafers and rollnecks, he embodies a now rare classical style of discreet glamour, often with nods to the open shirts, slim dress trousers and high heeled boots that adorned young men in the 1960s. Therefore, his best work tends to manifest when it contains references to his own manner of mode, which in turn can anchor imaginative flights of fancy such as a blazer cut to mimic a cardigan and military cuff dress trousers:

   Some time ago, I designated a past Junya collection as my ideal summer aesthetic. It would be more than safe to say that this is mine for winter. It motivated me to purchase a rollneck and the two pairs of trousers I own from it are easily amongst the best in my rotation, well made for preening and dancing. And it reminds me that sometimes the thrill of dressing to enjoy one's nightlife is reward enough. So, that was YSL's A/W 2008 - a collection to make any lounge lizard put a little more grace and swagger in his step

   Laisser les bon temps rouler

Accessory Service Announcement

   My rose pins, which I wear in the manner of boutonnieres, have entranced and mystified both regular readers and the people I interact with outside of this column

   Having tired of being asked if I'm making a political statement in sporting them, I've officially lost discarded them for the time being. If you wish to take up my baton, hie thee hither to Rose Paradise and place an order or three

   This season, I shall be wearing a Remembrance Poppy and, post Remembrance Day, actual boutonnieres whilst I upgrade my lapel accessories

   This is for the anonymous reader who keeps asking about them

Fashion Thought of The Day

For now, this says it all

From The Fashion Museum, Bath. Image by Master-Classter at StyleForvm

Synchronised Swanning and Anish Kapoor

Photograph by YF

   Back in the RA courtyard after observing a bullet of red wax shot out of an air compression cannon  (Shooting into the Corner) at the Anish Kapoor show. The poses struck by myself and YF's lady are close enough to inspire the dreadful punning in the title

   I enjoyed thinking of how high the cleaning bill for removing all the dried wax from the walls and floors at the RA would be, but I especially like what Kapoor does with mirrors, transporting them out of the funhouse and onto the gallery floor. One would think that removing the spooky dark rooms and the disco smoke machines from the equation would take away much of the pleasure of narcissistic image distortion, and actually, in a way, it does. Unless one is one of the many half term-celebrating urchins running unfettered throughout the exhibition, that is

   Also prominent amongst these appealing constructs, Hive (womb symbolism meets the inside of an ocean liner's hull meets an echo chamber) and Yellow (a concave fibreglass and pigment-based work that belies the inverse dome in the centre by appearing solid if stared at long enough) were similarly striking and inviting of momentary scrutiny. I think I want to go again

Stars - 'Elevator Love Letter' (2003)

 http://www.musicstack.com/

   In 2003, I was still a student and because students are stupid and introspective, I began to delve into twee pop. Today, I'm so out of touch with my emotions that I can justifiably claim to have left my feelings in my other trousers. But some things stay with you and this song is one of them

   Stars is a Canadian pop outfit almost unhealthily concerned with love, death, love, isolation, love, major emotions, guitars, love and keyboards. On a side note, founder and male singer, Torquil Campbell, was a walk-on in an episode of "Sex and the City, crowning his achievement with his sole line, directed at Sarah Jessica-Parker: "Is that pleather?" I spent a reasonable amount of time with their first three albums, fell hard and then removed them from my affections almost as quickly. Perhaps it really was a question of feelings in the end. Still, 'Elevator Love Letter' is quite possibly their indelible classic, or at least as close to a signature song as they had developed before releasing 'Ageless Beauty' in 2004

   The thing is, songs that are bleak, wistful and disappointed at the core but dressed up in melodies and beats of earworm-like properties are neither new nor uncommon, but few of them have as delicate and accomplished a happy-sad balance as this does. Although Torquil has a part to play as a cynical, blithe Lothario in the second verse, the song rests much more on the beautiful vocal performance of Amy Millan and her realisation of the equally cynical and emotionally stunted yet yearning, depressed and insecure rich girl whose woes and fragility drive the song. If her story was not so slight, I'd actually like the song less, since Stars already had 11 other emotional situations to navigate through on the song's parent album, Heart, to say nothing of the rest of their output

   'Elevator Love Letter' tells me just enough about its characters, says enough about what a rich girl with a nearly frozen heart really wants out of life and woos me just enough with a fast paced, lightly melodic production and singing that actually affects. And all with a chorus that turns the mundane into something transportive, although it helps when there's various layers of instruments playing in perfect synergy underneath it

   Maybe I've not grown up fast enough - I may still have the albums somewhere

Outsmarting The Daleks

Photograph by YF. Title inspired by BC on StyleForvm

   Much like EJ and Steve of Style Salvage, I've always had more than an occasional torrid fling with the concept of a personal uniform. I'm certainly living it right now - it's been little other than jacket-and-tie or jacket-and-waistcoat-and-tie for the past month or so - and while it won't approach an apex any time soon, it does start to feel a little constricting (much like my strange penchant for wearing my Junya trench to art shows). I do not plan on creating any full-on streetwear ensembles, but the notion of placing such garments back into my ensemble is a rather tempting one. As I recall, my aesthetic of six years ago was about creating traditionally inspired outfits out of streetwear; possibly the folly of youth, but at least it was an entertaining and challenging idea, and somehow I neatly avoided resembling a member of a seventh tier indie band

   Of course, the flipside is that I usually set out to entertain and enliven myself with my traditional ensembles. Hence the ever-exuberant colour mixing and pattern clashing. And no, I did not wake up that morning intending to match my tie to my umbrella, but fate is funny like that

   I'm standing outside my modern art TARDIS in the courtyard of the Royal Academy of Arts in Piccadilly, which currently hosts the works of Anish Kapoor. I'm rather looking forward to catching the show, possibly next week at that. Good weekend, all


   P.S. Dear Steven Moffat, if another regeneration is forthcoming, holla at me. Yours, B.O.N.

Pop Culture Thumbs-Up 21/10/2009

   The Quietus interviews Florence Welch of the vacuously flouncy Florence and the Machine. And it is truly refreshing to read an interviewer so unrestrainedly spiking her subject, so much so, that the interview itself comprises 30% of the overall feature. As someone who's only sweet on the outside and considers House, M.D. and its rational, brutally honest title character to be the best creations in modern television, I feel very happy indulging in the vituperative, scathing and insightful snark unleashed on Ms. Welch, who reminds me very much of every other female art student I've ever met in London (Writer's note for art students: put it this way - if we're buds or if I've ever been polite to you, I'm obviously not alluding to you)

  In the comments box, one reader notes, "good singers don't always make good conversationalists. and more often than not, good conversationalists make terrible singers. Two different forms of expression. it doesn't mean that she's stupid." He's not wrong. But leaving aside his obvious fandom, he's wrong to excuse her conversational abilities on the supposed merits of her talent because aside from the fact that her public persona generally belies the metaphorical knots around her tongue, someone who allegedly bursts with ideas should have even the most basic things to intone on regarding their craft, some small details to reveal regarding its intricacies or the work put in or how a particular burst of inspiration took matters to a logical and enjoyable conclusion. And that isn't what I just read, nor will my hopes be approaching the high setting any year soon

   Rumours of the death of America's favourite jackass (straight from the President himself), Kanye West, comprised the top Twitter trend this morning. I'd be interested to know what the fake cause was - "crushed under the weight of his own ego/hubris/chutzpah" seems far too mundane a death for him. Where would the funny be?

   Oh, and I finally sent a new piece in to Men's Flair, regarding the Hong Kong based tailors, W.W. Chan, who will be in residence at the London Park Lane Hilton tomorrow and Friday. I like them because they are far over half the price of your entry level Savile Row two piece and nearly as impressive. And frankly, not many other tailors do such an intuitive job of creating an aesthetic that marries exquisite classicism to natural progression. When I can afford them, I'm pretty sure crazy things will happen

Don't Look At Me

Photograph by YF

   Autumn is meant to be the favoured season for those with the dressing-up affliction, but I'm only now starting to get into the spirit. No one and nothing to blame; it just seems to be one of those slow times

   I was a little less colour bold as a result, but the nice thing about a slow period is that it doesn't last forever. Be patient; my infamous eye-bleeding combinations shall one day return

an.evening.in.flux

 All photographs © Erno Raitanen

   As art.in.flux's recently mentioned Suspended in Process exhibition comes to an end, I had the pleasure of having this selection of photos from the opening night delivered to my inbox by enterprising young Finnish shutterbugger, Erno Raitanen (another Finnish photographer? My Pokemon collection has been truly superseded). He has quite an eye, I trust you'd all agree:

In conversation with S and Winston

Special thanks to Kat for inviting me and art.in.flux for organising such an interesting evening